Tuesday, 13 June 2017

Aegidius Sadeler II’s “Inn and Houses near a Bridge”, 1624–c1650, after Roelant Savery

Aegidius Sadeler II (aka Gillis Sadeler; Egidius Sadeler; Ægedius Sadeler) (c.1570–1629)
“Inn and Houses near a Bridge”, 1624–c.1650, after a lost drawing by Roelant Savery (1576–1639) from the series of 5 plates, “Landscapes of Tyrol”, published in the second state by Marco Sadeler (fl.1660s).

Etching and engraving on fine laid paper with thread margins
Size: (sheet) 17 x 22.2 cm; (plate) 16.6 x 22 cm; (image borderline) 15.1 x 21.7 cm
Iettered below the image borderline: (left) “R.S: Inve[n]tor / Eg. S: excu.”; (right) “Marco Sadeler excudit.”
State ii (of iii) (before the erasure of the publishing detail, “Marco Sadeler excudit.”)

TIB 72 (Part 2 Sup.).7201.230 S2 (Walter L Strauss & Isabelle de Ramaix [Eds.] 1998, “The Illustrated Bartsch”, vol. 72, Part 2 [Supplement], p. 27); Hollstein Dutch 226-2 (2) (Hollstein 1980, vol. 21, no. 223); Le Blanc, no. 204–09; Wurzbach, no. 104; Nagler 1835—52, nos. 222–26
See also the description of this print at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.167921

Condition: crisp impression trimmed close to the platemark in excellent condition (i.e. there are no holes, tears, stains or foxing) but with a light fold mark visible verso.

I am selling this delicate impression that seems almost luminous showing rural life around what I believe is a watermill for the total cost of AU$270 (currently US$203.30/EUR181.47/GBP159.73 at the time of posting this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this very detailed and important print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Attribution of the name of an artist to a print is not always as straight forward as believing that the signature on a print MUST signify that the print was executed by the artist who signed it. This is certainly the case with the prints of Aegidius Sadeler II.

I have just been reading Isabelle de Ramaix’s (1998) introduction to the supplementary volume of the catalogue raisonné for Aegidius Sadeler II, “The Illustrated Bartsch” vol. 72 (Part 2) and discovered that at the time when Aegidius Sadeler II was translating Roelandt’s drawings of the Czech countryside, as shown here in this rural scene of a watermill, his apprentices (e.g. the great Isaak Major [c.1576–1630]) may be the true engravers of many of the prints signed with the master’s name. Going further, I read that Marco Sadeler, who published this print in its second state—as is this impression—may have reworked the plates that he published as his editions are slightly darker. I guess that someday there may be a change in attribution when the true artist(s) are formally identified.

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